Catalog: Artists: Ceramics: Pottery (691)

A set of five Yunomi in pale glaze with green stripes by Koyama Fujio enclosed in the original wooden box titled Yunomi and signed Hananoki Gama. Each is 8 cm (3 inches) tall, 6 cm diameter and all are in excellent condition. The writing on the box is unmistakably that of Fujio.
Koyama Fujio was born in 1900 in Okayama Prefecture. From 1925 he studied under Mashimizu Zoroku and began making pottery in Kyoto. In 1941 he participated in a research trip to ancient kiln sites in China and discovered the old Ding Kiln site. His contribution to research in ancient potteries cannot be overestimated. He worked in the Tokyo Teishitsu Museum (current Tokyo National Museum), and then joined the Intangible Culture Division of Cultural Properties Protection Committee. In 1955 he helped to curate the Song porcelain masterpieces exhibition which was held to commemorate the 10th anniversary of the founding of the Japan Ceramic Association. In 1959 he was appointed Cultural Properties Investigator, Intangible Culture Division, Cultural Properties Protection Committee Secretariat. In 1961 he was named an honorary member of the British Oriental Ceramics Association. In 1967 he was appointed Chairman of the Japan Crafts Association. In 1971 he was awarded the Order of the Sacred Treasure, Third Class by the emperor. In 1972 he was awarded the Kanagawa Prefectural Award for Cultural Merit, then established the Hananoki Kiln in Toki City, Gifu Prefecture. He died three years later.

The Fundo stamp of Living National Treasure Kaneshige Toyo is impressed into the base of this classical Bizen Mizusashi by Toyo named Fuku no kami (God of Fortune) by 12th Grandmaster of the Omotesenke School of Tea Keio Sosa (Seisai), enclosed in a wooden box titled Bizen Mimitsuki Mizusashi, Na: Fuku no Kami and signed by Seisai., It retains the original ceramic lid as well as a lacquered lid also bearing an alternate signature of Seisai. It is 17.5 cm (7 inches) diameter, 15 cm (6 inches) tall and in excellent condition.
Seisai (1863-1937) was the 12th generation head of Omotesenke school of Tea. At a time when the tea ceremony was in decline after the Meiji Restoration, he worked to revive it and led to its prosperity during the Taisho period. He also endeavored to rebuild the headmaster's tea room, which was destroyed in a fire in 1906.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.

A playful Dragon rises from this genuine stone base, a sculpture perfect for the coming year of the Dragon by popular contemporary artist Sugitani Keizo. 18 x 15 x 25 cm (7-1/2 x 6 x 10 inches) and is in excellent condition, directly from the artist. The creature floats slightly over the stone base on a copper stud set into the stone. It comes accompanied by a signed certificate, directly from the artist.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japans top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

Ripples cover the archaic surface of this flattened vessel by Sakata Jinnai enclosed in the original signed wooden box titled Hakudeisai Hajomon Henko (White Clay Wave Patterned Henko) It is 11 x 23 x 32 cm (4 x 9 x 13 inches) and is in excellent condition.
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).

An incredibly elegant form by Ikegami Eichi enclosed in the original signed wooden box titled Seiji HIsago Kaki (Gourd Shaped vessel). It is 30.5 cm (12 inches) tall and in excellent condition.
Ikegami Eichi was born in Kanazawa City, home of Kutani porcelain, in 1931, and during his time at the Kanazawa University of Art he submitted sculptures and was awarded at the Hokuriku Art Exhibitoin and Ishikawa Modern Art Exhibitions, graduating university in 1953. From 1954 to 1965 he submitted pottery works and was awarded several times at the Ishikawa Prefectural Modern Art Exhibition as well as the Toyama Prefectural Art Exhibition, his work being purchased by Toyama prefecture. In 1958 he was accepted into the Kofukai Exhibition. From 1963-1968 he exhibited with the Asahi Togeiten, and in 1967 joined the Nippu-kai. In 1970 he established in kiln in Kosugi, home of the ancient but nearly forgotten Kosugi-yaki pottery tradition. The same year he was awarded at the Nippukai Exhibition. Since his list of exhibitions and awards is lengthy to say the least, and his work with Kosugi ware has been much lauded. In 1996 he received the Arts and Culture Merit Award from the Toyama Prefectural Board of Education, and in 2001 the Toyama Prefectural Award of Merit, and in 2005 was recognized for his life dedication with the Cultural Award from Toyama Shimbun. The second generation head of his kiln is his daughter Mieko.

A spectacular pottery sculpture of the Okoze (Scorpion Fish) by Kimura Gyokushu enclosed in the original signed wooden box titled simply Bizen Okoze. It is 27 x 18.5 x 9 cm (11 x 7-1/2 x 3-1/2 inches) and is in excellent condition.
Kimra Gyokushu was born the eldest son of the 16th generation Kimura Munetoku in 1953. He graduated from Nagoya University of Arts in 1976, then went on to be awarded the Okayama Mayor's Award at the Okayama Prefectural Exhibition that same year. In 1978 he was selected for the 10th Nitten National Exhibition, subsequently exhibiting there more than 30 times; and his work was again awarded at the Okayama Prefectural exhibition. He succeeded in his research and creation of white Bizen in 1995, and was selected for Shigaraki Ceramics Exhibition. He became a lecturer at Kobe Women's University Seto Junior College from 2001, and from 2003 served as a juror at the Okayama Prefectural Exhibition. In 2009 he was made vice president of the Japan Ceramic Sculpture Association. He accepted a position as lecturer at Okayama Prefectural University in 2013.

A breathtaking sphere in oxidized blues like our gleaming blue planet with an artist performed kintsugi gold repair wrapping all the way around. It is 26 cm (10-1/4 inches) diameter and in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

An incredible Ceramic sphere in rich natural oxidized colors by Hashimoto Tomonari with original signed wooden box. It is 33 cm (13 inches) diameter and in excellent condition, directly from the artist. A similar orb is held in the collection of the V&A.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A 30 cm (1 foot) square cube in oxidized lunar color by Hashimoto Tomonari enclosed in the original signed wooden box. By volume this seems in person much larger than it actually is. Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A spectacular Shino Vase in deep Murasaki, and white by Tamaoki Yasuo enclosed in the original signed wooden box titled Shino Tsubo. It is 14-3/4 inches (39 cm) tall, roughly 26 cm (10-1/2 inches) diameter and in excellent condition.
Tamaoki Yasuo was born in Tajimi in 1941, one of the homes of Mino ware. He began his path to professional ceramicist at the Tajimi Industrial High School, and a stint at the Gifu Ceramics Research institute, where he followed the footsteps of a number of modern ceramic artists such as Hamada Shoji and Kawai Kanjiro, who also began their careers in the same manner. He then apprenticed under Kato Kohei before establishing his own kiln. Since, his list of exhibitions and awards is too long to print, but include the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Best of Show twice at the Tokai Dento Kogei Ten (Tokai Traditional Arts and Crafts Exhibition), as well as being prized at the Asahi Togei Ten (Asahi Ceramics Exhibition), and receiving the prestigious Japan Ceramics Society Award. In 1991 he was named an intangible cultural asset of Tajimi city

Everything we could expect from this innovative artist, striking color combination and gleaming gold by Ichikawa Toru enclosed in the original signed wooden box titled simply Mizusashi. It is 20 cm (8 inches) diameter, 15.5 cm (6 inches) tall and in perfect condition.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

A voluminous Chawan Tea bowl by Sawada Hayato enclosed in the original signed wooden box titled Kakusai Chawan. The hand built angular form is slip glazed with black clay inlayed creating paleolithic pattens tinged with red. It is roughly 15 cm (6 inches) wide, 9.5 cm (just under 4 inches) tall and in new condition. Sawada Hayato was born in Kasama City, Ibaraki Prefecture in 1978, and graduated Ryutsu Keizai University in 2000, going on to further study at the Tokyo University of Social Welfare from which he graduated in 2004. The following year he was selected for the 52nd Japan Traditional Craft Exhibition where he would be awarded in 2012 the Japan Kōgei Association Award. In 2013 he was awarded at the Kikuchi Biennale. Since his work has been shown in Shanghai, Europe, London and the United States. His work is held in the colletions of the Ibaraki Ceramic Art Museum, Crocker Art Museum, and Cincinnati Art Museum.

Kishimoto Kennin at his best, deep in the clay of Iga, a slightly misshapen vase covered in a splash of ash glaze and dark charring, one side flattened down like a beret, a single drip of crystalline jade clinging to the rim. The vase is 29 cm (just under 12 inches) tall and in perfect condition, enclosed in the original signed wooden box.
Kishimoto Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections. His Iga work is particularly remembered.

A colorful Guinomi Sake cup by Shibata Masamitsu enclosed in the original signed wooden box. The design, while technically perfect, is playful with soft colors which allow the viewer a childish sense of wonder. It is 6 cm diameter, 7.5 cm (3 inches) tall and in excellent condition, directly from the artist.
Shibata Masamitsu was born in Toki City, the heart of Mino country, in 1961. After graduating from Kyotos Ritsumeikan Daigaku University, He spent a year at the Tajimi Ceramics Research Facility. His work is an extension of his personality, a little quirky, a little cute, always colorful!

A sculptural form covered in iconic Iga Kiln effects by Toyosaki Nobuhiko of the Korin-kiln in Mie prefecture enclosed in the original signed wooden box. On the convex shoulder, green glass pools crystalline, while a smattering of goma (sesame) ash clings to the bulbous side, gray charring and plenty of flying ash to fill in the blanks. It is 25 cm (10 inches) tall and in excellent condition.
Born in 1955, he graduated Kyoto’s Ritsumeikan University department of Science and Engineering in 1980 before enrolling in the Seto Ceramic Research Facility. In 1982 he moved to Toki City where he apprenticed under the Iga master Kishimoto Kennin. In 1988 he returned to his hometown, establishing his own kiln that same year. He has remained focused on private venues and the intimacy of the private exhibition.

A canonical misshapen Shigaraki Jar by legendary female artist Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Uzukumaru. The igneous coating of mottled natural ash glaze containing clusters of charring gives testament to the fluctuations in temperature during the firing which give the work of this pioneering female artist such a unique quality. Here the form is classic medieval Shigaraki with a cross-work pattern called Higaki engraved into the shoulder of the jar. It is 21 cm (8-1/2 inches) tall and in excellent condition.
Koyama Kiyoko was the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

The ultimate in crusty, a radical charred vessel by Kanzaki Shiho enclosed in the original signed wooden box titled Iga Hanaire. Two sides are completely blackened and coated in Koge-charring. Opposite the darkness gives way to tombo-no-me (Dragonfly eyes) with thick encrustations around the base, a stream of yellow cascading down one clefted face. It is 21.5 cm (8-1/2 inches) tall and in excellent condition.
(Kanzaki Shiho (1942-2018) preferred firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on his work. He was born in Shigaraki, and was fast tracked into the Kansai University Law Department, but rather the life of a lawyer, after graduation he went with his heart to take up the precarious life of a potter, apprenticing under Mino artist Matsuyama Suketoshi. Later he returned to Shigaraki working there at the research center while developing his own style and methods with the Anagama. He consistently stayed with the personal world of private exhibitions, developing a large following both at home and abroad and his list of exhibitions is impressive. He has been the subject of several documentaries and Television interviews, and is widely published. For more information see, The Fire Artist, a documentary by Canadian Director Claude Gagnon.

Mastery of the Oribe genre is apparent in this Chawan by Yamada Kazu which comes enclosed in the original signed wooden box titled Kuro-Oribe Chawan. It is 13 cm (just over 5 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Yamada Kazu was born in Tokoname city in 1954, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nihon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department stores , and his innovative forms and designs are in high demand.